"Instant Noodles": It May be Instant, but it Sure is Restaurant Quality

Quick—name the best performance you have ever seen. What made it so memorable? Was it perfectly produced, endlessly rehearsed, or meticulously written? Or, maybe it was memorable because of its spontaneity? 

The most recent play I’ve watched fit the description of the latter—and I’d argue that it was one of the best performances I have seen. 

As I stepped through the doorway leading to an unassuming staircase in Seattle’s Chinatown-International District, I didn’t know what to expect. Most venues I had been to in the past were large, flashy, and easy to spot, but as I made my way to the lobby, I soon realized that this venue would be very different. The orange shade of the walls, coupled with the warm lighting from lanterns and funky décor around the small lobby, created a cozy and intimate atmosphere that I hadn’t experienced in any other venue before. 

Shortly after the Lunar New Year, Pork Filled Productions and SIS Productions hosted Instant Noodles, a series of seven ten-minute plays—all written, directed, and performed within 24 hours at Theatre Off Jackson. Pretty instant, I’d say. Created by over 50 Asian and Asian-American writers, actors, and artists, each play paid homage to the Asian-American roots of Pork Filled Productions and SIS productions.

Before the show started, the audience at Instant Noodles was buzzing with excitement. Laughs and conversation filled the room as Asian songs blasted from the speaker—reflective of Pork Filled and SIS Productions’ goal to showcase Asian and Asian American talent. Even as a newcomer, I was hooked by the anticipation in the atmosphere.

An all-Asian and Asian American band took to the stage, singing an upbeat song to start the show. Their passion for their instruments, music, and most of all, the theme of the night, was infectious: I found myself smiling and clapping along with the other audience members after a brilliant saxophone solo. 

Throughout the show, the band helped seamlessly transition from one play to the next. Each small interlude played during the transitions hinted at the theme of the next play; from trending pop songs like “APT” by Bruno Mars and Rosé to original songs, the band provided a captivating presence, creating a listening experience that immersed me in the show.

Soon, the theme of the afternoon was introduced: “The Model of a Model Minority.” The introduction of the theme piqued my interest. I had heard the term thrown around occasionally, but never truly explored the phrase any deeper. For that reason, it was fascinating to see how different writers tackled the assigned theme through their plays. Many plays explicitly touched on the theme, directly showing common internal and external conflicts that Asian-Americans face. 

In the first play, Expectations, written by Michael Yichao and directed by Miko Premo, I quickly understood the stereotype referenced. It followed the aftermath of an awkward hangout, playing on the shyness of liking-but-not-liking someone. The two characters, played by Justin Tran and Christi Cruz, entered a (conscious) Tesla played by Rachael Uyeno, where their conversations were frequently interrupted by the car’s actions. At one point, the Tesla tightened its seatbelts around the characters, which to me, represented stifling external pressures resulting from cultural stereotypes. By presenting the characters’ internal and external conflicts—stuck between their true feelings and societal pressures-–through stumbling over words and awkward silences, Yichao cleverly intertwined the suffocating nature of stereotypes with a seemingly innocent date. 

In All the World is an RPG, written by Sameer Arshad, a player designs a (sassy!) in-game character, selecting what jobs they would like their character to have. An automated voice represents the stereotypes Asian-Americans face, placing doubt on—and at times, stopping them from chasing—the occupations they choose. Actor Kristina Roy plays a character who is initially confined by the limitations of what jobs Asian Americans are expected to have—doctor, lawyer, or computer programmer—but later comes to accept all the possible opportunities that Asians and Asian Americans can pursue. By cleverly using RPG games as an analogy for real life, the play exemplifies the struggles that dissatisfied Asians and Asian Americans face from societal pressures when they attempt to break stereotypes assigned to them.

Some of the plays were more nuanced and pushed me to reflect on my experiences as an Asian American to uncover what stereotype the writer was referencing. Centered on more niche themes, such as the reluctance to show affection or workplace competition, these plays encouraged viewers to dig deeper into their implicit references and allowed me to truly reflect on other underlying stereotypes Asians and Asian Americans face. 

The play I’m Sorry, Were You Talking?, written by Daniel Arreola, stumped me at first. It followed a conversation between a couple, played by Angel Gao and Van Liu, during a marriage counseling session after one partner forgot their anniversary. After a long conversation between the couple, the play ended with a begrudging compromise from both sides. While I concluded that the play was a nod to the miscommunication stereotypes that Asians and Asian-Americans face, I was still left reflecting on any possible themes I might have missed. 

The seven plays I watched in Instant Noodles were fantastic. Understandably, the time constraint of 24 hours may have made it more difficult—even impossible—to go through rounds of drafts and revisions. Taking that challenge into account, I found the seamless transitions and compelling acting incredibly impressive as an audience member.

Alas, many of the Model Minority stereotypes portrayed in the plays didn’t resonate with me. Perhaps it was my lack of lived experience around these types of situations–as a teenager, many of the situations portrayed in the plays (choosing jobs, workplace conflicts, and relationship issues) were ones that I found hard to resonate with. However, if you’re ready to explore very real, real-life issues or dig deep into semi-mature topics—along with some mature word choices—plays like Instant Noodles, where spontaneity is a strength, are the plays for you. Nested between the comedic lines, adept acting, and infectious atmosphere, there lies a rebellious yet empowering challenge to the status quo for Asian and Asian Americans, creating a sense of exigence that encourages viewers to defy stereotypes and chase their dreams.

Pork Filled Productions will offer a video-on-demand option to watch Instant Noodles from March 20th - April 3rd, 2026.

Lead photo: Sumant Gupta, Zoe Ding, and Mariko Kita in Instant Noodles. Photo courtesy of Pork-Filled Productions.

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